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The Mad Scientist
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Vous avez sélectionné:
The Mad Scientist
Partitions à imprimer
73 partitions trouvées
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The Mad Scientist's Brain Ticks Over
The Mad Scientist's Brain Ticks Over
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Orchestre de chambre
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INTERMÉDIAIRE
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Rob JKennedy
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The Mad Scientist's Brain Tick
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Rob J Kennedy
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1343967 By Rob JKennedy. By Rob J Kennedy. 21st Century. 7 pages. Rob J Kennedy #929475. Published by Rob J Kenned...
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Chamber Orchestra - Level 3 - SKU: A0.1343967 By Rob JKennedy. By Rob J Kennedy. 21st Century. 7 pages. Rob J Kennedy #929475. Published by Rob J Kennedy (A0.1343967). From my 2018 album 1950's Sci-Fi Suite. The Mad Scientist's Brain Ticks Over
$2.00 ≈
1.81€
The Spirits of Cahuachi - Score Only
The Spirits of Cahuachi - Score Only
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Contemporain
#
Antonio Gervasoni
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The Spirits of Cahuachi - Scor
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Antonio Gervasoni
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.1088411 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 20 pages. Antonio Gervasoni #692676. ...
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Large Ensemble - Level 5 - SKU: A0.1088411 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 20 pages. Antonio Gervasoni #692676. Published by Antonio Gervasoni (A0.1088411). Single-movement work for 10 musicians. This piece is inspired by the reading of the book 'Behind the Silence: Music in the Nasca Culture', by the Polish scientist Anna Gruszczyńska-Ziółkowska, which describes the discovery, in 1994, of several antaras (Andean pan flutes) made of clay in a temple in the city of Cahuachi, the political and cultural center of the Nasca culture. The book includes tables with the exact tones that each tube is capable of producing. The Spirits of Cahuachi uses these tones, i.e. their approximate counterpart in our modern tuning system, treating them in different ways, sometimes as chords, sometimes as scales, sometimes as pitch-class sets, fragmenting the sets, and then overlapping the resulting groups, etc. Of course, there is no intention to produce something that resembles the music of the ancient Nasca inhabitants. We don't know anything about their music. None of it has survived with the exception of these tones, these 'spirits' contained in the pipes of the antaras discovered in Cahuachi.
$6.99 ≈
6.33€
The Inventor
The Inventor
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
#
Chris Brindley
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The Inventor
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Chris Brindley Music
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1011341 Composed by Chris Brindley. 20th Century,Concert,Contemporary. Score. 4 pages. Chris Brindley Music #3219151. Pub...
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Piano Solo - Level 4 - SKU: A0.1011341 Composed by Chris Brindley. 20th Century,Concert,Contemporary. Score. 4 pages. Chris Brindley Music #3219151. Published by Chris Brindley Music (A0.1011341). The Inventor is a theme and variations journey into an inventors workshop.Through the piece you can hear the quirks of the inventor, and his progression as he works from a simple idea and develops it into a creation which a mad scientist would be proud of. You can even hear his prototype slowly wind down, with an optional nails over keys break to create the sound of winding up the machine back up again.
$3.99 ≈
3.61€
Back To The Future
Back To The Future
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
#
Film/TV
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Alan Silvestri
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Graham Boag
#
Eric Stoltz was cast instead
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Back To The Future
#
Graham Boag
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1081763 Composed by Alan Silvestri. Arranged by Graham Boag. 20th Century,Broadway,Film/TV,Musical/Show. Score and part...
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Concert Band - Level 4 - SKU: A0.1081763 Composed by Alan Silvestri. Arranged by Graham Boag. 20th Century,Broadway,Film/TV,Musical/Show. Score and parts. 187 pages. Graham Boag #685889. Published by Graham Boag (A0.1081763). Back to the Future is a 1985 American science fiction film directed by Robert Zemeckis, and written by Zemeckis and Bob Gale. It stars Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, and Thomas F. Wilson. Set in 1985, the story follows Marty McFly (Fox), a teenager accidentally sent back to 1955 in a time-traveling DeLorean automobile built by his eccentric scientist friend Doctor Emmett Doc Brown (Lloyd). Trapped in the past, Marty inadvertently prevents his future parents' meeting-threatening his existence-and is forced to reconcile the pair and somehow get back to the future. Back to the Future was conceived of in 1980 by Gale and Zemeckis. They were desperate for a successful film after numerous collaborative failures, but their idea was rejected over 40 times by studios because it was not considered raunchy enough to compete with the successful comedies of the era. A development deal was secured following Zemeckis' success directing Romancing the Stone (1984). Fox was the first choice to portray Marty, but he was unavailable; Eric Stoltz was cast instead. Shortly after principal photography began in November 1984, Zemeckis determined Stoltz was not right for the part and made the concessions necessary to hire Fox. This included re-filming scenes already shot with Stoltz and adding $4 million to the budget. Back to the Future was filmed in and around California and on sets at Universal Studios. Filming concluded the following April. Replacing Stoltz delayed production and the film's release date but, following highly successful test screenings, the date was brought forward to July 3, 1985, to give Back to the Future more time in theaters. This resulted in a rushed post-production schedule, and some incomplete special effects. Back to the Future was a critical and commercial success, earning $381.1 million to become the highest-grossing film of 1985 worldwide. Critics praised the story, comedy, and the cast-particularly Fox, Lloyd, Thompson, and Glover. It received multiple award nominations and won an Academy Award, Saturn Awards, and a Hugo Award. Its theme song, The Power of Love by Huey Lewis and the News, was a significant success globally. In the years since its release, Back to the Future has grown in esteem and is now considered to be among the greatest films of the 1980s, one of the best science-fiction films ever made, and one of the greatest films of all time. In 2007, the United States Library of Congress selected the film for preservation in the National Film Registry. The film was followed by two sequels, Back to the Future Part II (1989) and Back to the Future Part III (1990). With its effect on popular culture and a dedicated fan following, Back to the Future launched a multimedia franchise. This includes an animated television series, video games, comic books, board games, clothing, music, books, food, toys, collectibles, and theme park rides. Its enduring popularity has led to numerous books about its production, documentaries, and commercials. Back to the Future has been adapted into a 2020 stage musical.
$59.99 ≈
54.34€
The Scientist
The Scientist
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Trio à Cordes: violon, alto, violoncelle
#
INTERMÉDIAIRE
#
Film/TV
#
Coldplay
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Madelu Lopes
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The Scientist
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Mads lopis
#
SheetMusicPlus
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - SKU: A0.937123 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. A...
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - SKU: A0.937123 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Madelu Lopes. Film/TV. Score and parts. 5 pages. Mads lopis #6255949. Published by Mads lopis (A0.937123).
$12.99 ≈
11.77€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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C Instrument - Level 2 - SKU: A0.1485947 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. Contem...
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Cello,Piano - Level 3 - SKU: A0.1485999 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. Childre...
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Piano,Viola - Level 3 - SKU: A0.1485995 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. Contemp...
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Double Bass,Piano,String Bass - Level 3 - SKU: A0.1486009 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Césa...
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English Horn,Piano - Level 3 - SKU: A0.1486262 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. ...
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Piano,Viola - Level 3 - SKU: A0.1485997 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. Childre...
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Piano,Soprano Flute - Level 3 - SKU: A0.1485990 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira....
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Piano,Soprano Saxophone - Level 3 - SKU: A0.1486248 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Made...
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B-Flat Trumpet,Piano - Level 3 - SKU: A0.1486242 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira...
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French Horn,Piano - Level 3 - SKU: A0.1486257 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. C...
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Piano,Violin - Level 2 - SKU: A0.1485955 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. Childr...
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B-Flat Clarinet,Piano - Level 3 - SKU: A0.1486227 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeir...
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Bassoon,Piano - Level 3 - SKU: A0.1486005 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira. Conte...
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Piano,Tenor Trombone - Level 3 - SKU: A0.1486007 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by César Madeira...
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